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While we didn’t know which fabrics would be used in which design when we chose the palettes, we did want to choose a background or sashing-type of fabric for each palette. For the White Plight palette, Weeks Ringle had several tips for making the choice. “You need contrast with your field color,” she says. “When you have a whole bunch of different colors, it’s going to be a challenge to find something else that’s going to work and not distract.” We auditioned batiks, small prints, and solids, and, in the end, we had a difficult time choosing just one. So we thought we’d share all three along with the reasons why each could work.

We started with an aqua that was a little too similar to the ground in some of the prints, so we would have needed to remove those prints and we didn’t want to change the selection. By trying an aqua that was just 10 percent darker, we could keep all of the prints while still providing contrast. So the darker aqua was in the running.

Next, we tried a print that contained more blue and compared it to the darker aqua. We preferred the darker blue, as some of the prints contained small amounts of blue, but not enough that the blues in the print would connect to or bridge out into the background, altering the appearance of pieced design. The blue would be our wild-card choice.

For a more traditional option, we auditioned a print and a solid that were nearly the same hue, value, and saturation–an oatmeal or linen hue. We felt the solid offered a little more contrast, while the print receded more, so, in the case of these two, personal preference would be the deciding factor and we opted to purchase the print.

We wondered what a darker neutral would offer, so we brought in a cocoa brown solid and found that it offered more contrast than the lighter linen hue while still supplying that neutral we wanted to try. Since it’s a muted hue, the piecing and prints will still be showcased.

Which would you choose? Or would you have chosen totally different options?

When we first selected the fabrics for the Bold Fears ailment, we had included these four fabrics. After all, they shared similar hues–the oranges or pinks and greens. As Weeks Ringle and I selected fabrics, we found that some of the original choices stood out. Here’s why we chose to remove them from the assortment.

Daisy print, top left: While this print contained the pink and orange found in some of the others, the ground was white and the print was sparse, so the print didn’t work with the others that contained little to no white. Also, due to the amount of white, the print read as high contrast, since there were navy blue accents in the fabric, so this higher contrast print was contrary to the lower contrast prints in the assortment. (For more on using fabrics with a white base, see the White Plight ailment on page 26 of the June 2015 issue.)

Black floral, top right: Again, while this print had colors in common with the other prints, the black ground and white accents makes this print higher contrast. Also, it is a highly saturated print, unlike any of the other prints. When viewed with the others, it stands out and becomes a focus, so it was removed.

Soft floral, bottom right: This soft floral is much less saturated than the other prints in the assortment. In addition, it features primarily lavender and yellow hues rather than the oranges and pinks that are more visible in the others.

Aqua and white stripe, bottom left: While the hues were on target with many others in the stash starting point, the bold white stripes, the heavily saturated print, and the high contrast of the fabric make this a less pleasing option for this palette.

It was love at first sight when I had my first peek at Lissa Alexander’s Rainbow Rows. Four-Patch blocks? Yes! Sign me up. The first step was narrowing down the color palette. I pulled out my huge stash of polka dot 2-1/2″-wide strips. The brights spoke to me…especially the red, orange, pink, and occasional purple dotted fabrics. I’ll combine these cheerful dots of all sizes with white-on-whites.

I like to sew together oversized pieces and trim them down to make uniform units. That’s the beauty of using the (already cut) 2-1/2″ strips. I sewed each dot strip together with a white-on-white strip, and cut the resulting strips into segments. I joined segments in a very random fashion to make oversized Four-Patch units. Yes, this method means a lot of trimming to size. But, the big payoff is that any irregularities in seams won’t show. Every single Four-Patch unit will be exactly the right size.

There’s another bonus of using 2-1/2″-wide strips. When I crosscut the strips, they are perfect 2-1/2″ squares, just the size needed for the alternating squares in each block.

On the design wall you get an idea of how the blocks will look. Next step, I’ll start sewing the blocks. Any guesses on the finished size of this project?

Something else I love about this project is that the units are simple enough that I can sew a few strips together in between other tasks. Sewing strips together is a great way to make use of “leader strips.” If the machine balks when I’m sewing the strips, I can just trim that part off, using the remainder to make segments for Four-Patch units.

Every month, we highlight a trend in quilting and show you how you can add this hip style to your projects!

This month, we’re loving nautical style! Sure, it may just be because we’re ready for warmer temps after this winter, but nautical really has involved to be totally livable in any home (even if you don’t have a beach house!). From sea creatures to nautical knot motifs to classic blue and red, you’re sure to find a nautical product that suits you!

Angie’s blog is perfect for any quilter who wants to be “in the know”! Her recent articles touch on quiltalongs, quilters on Instagram, and quilting podcasts (we made the list!). And her projects and tutorials are so fun!